Considering his recent surge in American popularity, it was all-but-inevitable that Jackie Chan
would eventually show up in a big-budget Hollywood action picture. (He hasn't been in one since
he did the Cannonball Run films back in the early '80s.) That production is Rush
Hour, a somewhat lackluster cop buddy movie that goes wrong in two big ways: (1) it fails to
utilize Chan's full range of skills, relegating him to the role of a kickboxing action hero and
virtually ignoring his comedic aptitude, and (2) it saddles him with a partner, played by the
irritating Chris Tucker.

In his Hong Kong features, Chan almost always delights (sometimes in spite of the plot) because he
is given an opportunity to display his versatility. His performances aren't just about action; they're
as much about comic timing as they are about stunts and death-defying feats. That's the reason
why he is more often compared to Chaplin and Keaton than to Bruce Lee. Unfortunately, film maker
Brett Ratner (who directed Tucker in Money Talks) doesn't seem to
understand a large part of Chan's appeal. In Rush Hour, the actor is relegated to
participating in various uninspired action sequences that could have just as easily been executed by
Chuck Norris. Chan is rarely offered the opportunity to let his charisma shine through. 90% of
the "comedy" is left to Tucker, who, when wound up, can be as aggravating as fingernails on a blackboard.

The storyline is as silly as one might expect for a movie that doesn't want its viewers thinking too
much about plot or characterization. It's designed as a framework for the action sequences, all of
which are in dire need of an adrenaline injection. Chan plays Lee, a Hong Kong police inspector
who has been brought to America to aid in a kidnapping investigation. Soo Yung (Julia Hsu), the
daughter of the Chinese consul in the United States and one of Lee's former charges, is taken
hostage by a gangster, who is demanding a $50 million ransom to return her alive. The FBI, led by
the usual band of incompetents, doesn't appreciate Lee's involvement, so they recruit James Carter
(Tucker), a LAPD cop, to "babysit" him during his time in America. Soon, Lee and Carter, who
don't really get along, are trying to solve the crime on their own. If it sounds like the Lethal
Weapon formula, it is, but Rush Hour isn't close to being as entertaining.

Some people think Chris Tucker is funny, but I have yet to laugh at one of his out-of-control
performances. He's too loud and abrasive, and he seems to think that acting weird and shouting are
among the necessary attributes of a comedian. I feel the same way about Robin Williams and Jim
Carrey - they're a lot more effective when they're under control. Unfortunately, in Rush
Hour, Tucker is allowed to do pretty much what he wants, and he ends up interfering with
Chan's few attempts at subtle humor. Tucker may be perfect for a loud, brash action film, but his
presence her effectively undermines Chan's work.

There are times when Rush Hour shows potential, but these instances are more of a tease
than anything else. On one occasion, Chan leaps into the air from a moving bus to grab an
overhead road sign. After dangling in mid-air for a few seconds, he drops onto the top of a truck.
There's also an amusing bit with Chan and Tucker strutting their stuff to the tune of "War." And,
in the kidnapping victim, it's refreshing to see a little girl who has spunk but isn't a brat.

Everyone familiar with Chan's movies should be aware that he uses the end credits to show a
variety of often bone-crunching outtakes. For Rush Hour, these are rather lame, showing
more flubbed lines than stunts gone awry. That, more than anything, is indicative of how little
Chan's potential is realized in this movie (not that we want to see him getting hurt, but he's given so
little to do that he never really has the chance...). There's little doubt that Rush Hour is
going to be a success at the box office, and, given audiences' love of sequels, Rush Hour
2 is probably already in the planning stages. Let's hope that next time around, the director
uses his lead actor as something more than Tucker's straight man. On this occasion, as Chan
moved from Hong Kong to Hollywood, something got lost in the translation.